Richard Herbert, Madness and Superheroes. A Foucaultian analysis of the madness of the gritty, realistic superhero movie, Overthinking It site, September 3rd, 2013.
‘We must understand it not as reason diseased, or as reason lost or alienated, but quite simply as reason dazzled’.
–Michel Foucault, Madness and Civilization
In 1938, Americans who tuned into Mercury Theater on Air’s Halloween program a bit late listened with rapt-attention and evolving terror as their radio-broadcast ostensibly reported the invasion of Earth by Martians. Of course, had they tuned in a few minutes earlier, they would have heard the program’s disclaimer identifying the work as a radio drama; a drama that used the format of news broadcasting to tell a science-fiction story. The panic that ensued, though probably not as great as the newspapers of the time would have us believe, was an example of a rational response to an imagined situation. After all, Orson Welles and Co. had carefully studied Herbert Morrison’s reporting of the Hindenburg disaster, and the broadcast ran without the commercials listeners would expect from a radio drama—all to increase the production’s sense of realism. Furthermore, this was during America’s peak alien fervor, well before better observation of Mars had discredited the supposed “Martian canals” and failed to reveal any evidence of intelligent life or civilizations on the Red Planet’s surface (Ray Bradbury’s The Martian Chronicles was still over a decade away).
Therefore, listeners who thought the broadcast was real, keeping in mind the lengths Welles and his cadre of performers went to in order to present a “real” experience, were not necessarily acting irrationally when they made frightened phone calls to the police, or peered out their windows to catch a glimpse of spaceships in the sky. But these reactions, though rationally justified, were nonetheless within the confines of a very convincing illusion: there were no spaceships, only the suggestion of them.
Another, similar urban legend alleges that during the first screening of L’arrivée d’un train en gare de La Ciotat, a nineteenth century documentary short film of a train pulling into a station, audience members went screaming through the aisles in panic, due to the realism of the film and the unfamiliarity most people of the time had with motion pictures. While, again, accounts have probably been exaggerated (or confused with a later, stereoscopic viewing of the film), they nonetheless highlight the fine line between reality and a convincing illusion.
But how do you describe a physical response to what is clearly imagination, perfectly reasoned as it may be for the person doing it? It is not irrationality, because if you are convinced of an alien invasion or that you are about to be flattened by a train, action is the only rational response. But neither is it exactly reason: a better sense of judgment should keep a person from being fully convinced of a false image in the first place, even intuitively. To find the answer, we might look to Madness and Civilization, Michel Foucault’s first major work, wherein he describes the history (or at least his version of it) of the relationship between madness and European society, from the Middle Ages through the end of the Age of Reason. In doing so, he proffers both an extensive examination of how different periods have viewed and reacted to madness, as well as his own, more general definition of what makes someone mad:
All that madness can say of itself is merely reason, though it is itself the negation of reason. In short, a rational hold over madness is always possible and necessary, to the very degree that madness is non-reason. There is only one word which summarizes this experience, Unreason: all that, for reason, is closest and most remote, emptiest and most complete; all that presents itself to reason in familiar structures—authorizing a knowledge, and then a science, which seeks to be positive—and all that is constantly in retreat from reason, in the inaccessible domain of nothingness.
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